$1000 Grand Prize_Get Paid For Your Musical Talent

Vet Boi's

TrapStar and DubStepStar Online MixTape Competition

For all you upcoming Artists 
(Hip-Hop, Christian Rap, Producers, R&B over TrapBeats, & DubSteppers)

“I will pay you $1000 for your musical talent once you win! Most people will overlook this; so that makes your chances of winning better. If you don't do music, PLEASE, share this link to someone you know who can WIN!!!!

Grand Prize wins $1000, 2nd Place wins a brand new Maschine MK II by Native Instruments (compliments of Vet Boi Music Group), 3rd Place wins brand new Beats by Dre Wireless Headphones (compliments of Vet Boi Music Group)!!!

Good Luck!!!”

For Complete Details Log onto

@riccotweets

vetboiigram

www.vetboimusic.com

or

WATCH

http://youtu.be/74qyk7m2jA4

Ricco Lumpkins aka the Vet Boi™

VBMG, LLC

Steve Jobs: How to live before you die

Steve Jobs: How to live before you die

                            

Typically, my blog is on music. So why did I decide to post about Steve Jobs? Steve is a huge inspiration to me. Quite frankly, if it weren’t for Steve and his vision of the Apple computers, music would not be what it is today. Steve is the Godfather of musical content and catalogue within iTunes. Although very much human, he is a deity. The Mac dates back to the first Commodore computer, which has been instrumental in shaping sounds and inspiring musicians around the globe. I learned how to sequence with the Atari Notator (ancestor to Logic) on the Commodore 64.

Today, I am an avid user with programs such as Logic, Protools, Ableton, Reasons, Record, and Garage Band.

At a 2005 commencement speech at Stanford University, Jobs gave three life-altering stories. He began by saying, “You cannot connect the dots looking forward; you can only connect looking backwards.” He dropped out of college to take a calligraphy class. This set precedence for the beautiful typography within Apple’s graphics and Word applications. Other formats followed suit. Jobs believes that even a gut wrenching mistake can and will lead you into your destiny.

Ten years after starting Apple, Jobs got fired from the very same company in which he started. He felt like he was a failure, but realized he still loved what he did. He was free to start over. He pressed on to start the number one animation company in the world, Pixar. Jobs interjected, “You’ve got to find what you love! Keep Looking and don’t settle.”

His last life lesson was regarding death. His doctor informed him that he had pancreatic cancer. He says. “If you live your day as if it was your last, one day you most certainly will be right. Everyday, if you remember that you are going to die while asking yourself do I need to change what I am doing, you will never fear losing anything. Death is the destination we all share. Your time is limited! Don't live someone else’s life (Jobs).”

Jobs, Steve. Filmed in 2005 posted (2009). Steve Jobs: How to live before you die. Retrieved from TED Blog http://www.ted.com/talks/steve_jobs_how_to_live_before_you_die.html

Artist Survival in 15 Steps

I attended another music business seminar at Music Industry Workshop, MIW, in Chicago, Illinois. This week’s guest speaker was Randy Chertkow, co-author of Indie Band Survival Guide. Randy led a discussion on marketing and branding, which appears to be one of today’s hottest topics in the business. Not only is Randy an adroit author, he is a gifted jazz musician and IT guy. He discussed successes via his experiences with his band, Beatnik Turtle. Beatnik Turtle has over 500 songs, which has been published via podcasts, television, and radio shows. Beatnik Turtle has been one of the very few bands to be able to release a song a day from their catalogue for a straight year. They have a website dedicated to just that, The Song of the Day.com. I think that idea is just brilliant! There aren’t many artists out there that can do that. In fact, there aren’t many artists out there that want to do that. If you know of any such artists, please place the link in the comments section below.

The precious gems I gathered from Randy were bountiful. Although the Internet is easily accessible via our fingertips, I will outline the prerequisites and essentials to an artist’s survival in 15 steps.

Step 1

The Song/Product:

An artist should establish their identity or brand via their song selections and genre of music.

Step 2

The Producer:

An artist should know when to obtain a competent producer, which can bring the best out of the artist. It doesn’t hurt to have a non-biased professional ear. Sometimes artists become too close to their own material.

Step 3

The Recording/Mix Engineer:

If an artist is a great producer, a good recording/mix engineer can optimize the song’s recording and mix. Even the best producers have their own personal recording/mix engineers who know how to aid and assist the producer’s direction of the song. Please note, this can and, perhaps, should be two different people.

Step 4

The Mastering Engineer:

Mastering is an art in itself. Don’t get a bundle of plug-ins and instantiate a mastering suite plug-in over the master buss and expect that you have mastered your album. It takes years to obtain this status. I implore you, let the masters be the masters. Read the credits of your favorite commercially released songs and utilize that mastering engineer.

Step 5

Manager:

Once an artist is ready for the public, a manager should be procured for consultations. A manager will validate the artist’s worth. Potential clients will take the artist more seriously. It also allows the artist to stay creative and out of heated negotiations.

Step 6

Booking Agent:

The agent books live shows for the artists. This is not the manager’s job, especially in the larger markets or cities. A manager will help with the consulting of the negotiations.

Step 7

Music Attorney:

An entertainment attorney will negotiate, to the best of his ability, any possible deals presented in favor of the artist’s intent.

Step 8

Publicist:

A publicist exploits the artist’s awareness via media and press. An EPK or an electronic press kit should be prepared for this stage.

Step 9

Web Designer/Webmaster:

Facebook, Twitter, and MySpace are assumed denominators. However, a formal web page should be established for additional presence. In fact, all websites should link to one another. There are many free templates out there to use, but a more tailored approach should be considered.

Step 10

Graphic Designer:

Different from a web designer, a graphic artist can create logos, banners, and favicons. The GD will be able to generate vector, jpg, GIFF, TIFF, and rasterized images for different uses. Chertkow emphasized, “All images should be placed in a ‘Branding Tool Box’ for artist’s ease of accessibility and distribution to potential clients.”

Step 11

Photographer:

An artist should have a set of high-resolution photos taken. Image is everything. The graphic designer should be able to enhance and touch up the photos.

Step 12

Video Director/Editor

Mostly every single has a video shot for it. With video distribution channels such as YouTube, Vimeo, and Viddler available, a great video can enhance the positioning of an artist’s brand. A video director and editor are two different positions. Not all directors are good editors and vice-versa. Do your homework!

Step 13

Accountant:

Once an artist begins to make a decent living from his or her art, then an accountant should be sought. Keep in mind, most of us our independent contractors. This means we have to file a 1099-MISC form at the end of the year. A good entertainment accountant will be able to itemize relevant deductions.

Step 14

Marketer:

A marketer is different from the PR. A marketer will be able to position the artist or band in front of their target markets. Research should be conducted to identify which markets are intended. Good marketers will be capable of providing services for SEO and social media publicity.

Step 15

Distribution:

The artist’s product and merchandise should be available for customer’s attainment via digital distribution, websites, live shows, and brick and mortar channels.

Thank you.

Name: Ricciano Lumpkins

Gmail: rlumpkins@platworldprojx.com

Blogger Link: http://micromusicbiz.blogspot.com/

References:

Chertkow, Randy. Indie Guide. Retrieved from http://www.indieguide.com/

Music Industry Workshop. Retrieved from http://www.miworkshop.com/

The Song of the Day. Retrieved from http://thesongoftheday.com/

What is Music Publishing (Micro Music Biz Version)?

Periodically, I sit on recording engineering, music production, and songwriting panels. It’s inevitable; I get asked this question, “How do you make money in the music business right now?” The answer is not a simple one. I recommend diversifying one’s talents to maintain a viable worthiness to potential clients. Meaning, one should learn how to record, mix, edit, master, produce, sing, play an instrument, operate lights, DJ, become an assistant, or manage. However, to the artist, I suggest learn how to write songs, register the songs with Copyright.gov, and maintain ownership of their copyrights.

Publishing=Pipeline Income. Basically there are four different areas of income from publishing: print, synchronization, mechanical, and performance.

Initially, publishing belongs to the copyright owner such as the songwriter. However, there are circumstances where the songwriter may assign that copyright to a third party such as a publisher, manager, or producer.

Often times song writers will work for bands to help them with lyrics and music to play, but here again, the writer of the song is the owner of it and gets the copyrights to it, and thus the publishing money.  One thing to recognize is that copyrights are not the same as sound recordings.  Someone can record a song and sell it to another band or company and then that particular company owns that recording, but they would not own the song.  The original writer will always maintain the copyright for that particular song.  The reason for this is the publishing money is connected to the copyright, so the owner will be the only one making money off of the song itself (Music-Law.com).

Once a songwriter understands the intricate details of copyrights, then he will be able to exploit, position, display, sell, distribute, and perform his song properly. Additionally, if someone wants to remake or sample from a particular copyrighted composition, the new derivative must be cleared and a fee must be paid in order to obtain the rights to perform, play, or sell the new version. There is an alternative to this called Creative Commons, whereby, the copyright holder grants a free license, but attribution must be given to the creator.

Another popular making money angle is sync licensing or synchronization. Sync licensing is a fee paid to the copyright holder to sync a musical composition to film, television, video games, theatrical performances, or musical videos. Once a person gets paid a sync fee, they have just received publishing income.

Performances and mechanicals are two other ways of deriving publishing income. Every time a song is played on the radio, television, and certain non-interactive Internet radio stations, the copyright holder receives publishing income.

Finally, there is one more type of publishing income called print licenses. Some compositions get printed and sold on sheet music. Publishing income is derived from this as well. Basically, there are many ways of generating income for a song. However, if an independent artist/songwriter intend on getting their song heard on a major broadcast level, he may have to sign to a major label of publisher. There are plenty of exceptions to the rule with the advent of Internet technology. Nowadays, there are more independent channels to assist with successful placements.

Ricco Lumpkins aka Vet Boi™